Dream Theater Discography: #2 Images and Words (1992)

"And water can't cover her memory
And ashes can't answer her pain
God give me the power to take breath from a breeze
And call life from a cold metal frame"

After the debut album didn't exactly set the world on fire, Dream Theater were in limbo for a while, writing new material, auditioning singers and looking for a new record label. Finally in 1991 a tape arrived from Canada and James LaBrie was chosen as the new vocalist, and soon the band had a deal with ATCO Records on their hands. Images and Words was released in 1992 at the height of the grunge boom, yet surprisinly enough the opening track "Pull Me Under" became a hit on the radio and MTV. The album itself received acclaim and sold well, going Gold in the US.

The aforementioned hit single "Pull Me Under" is a great opener and an accessible gateway track (despite its 8-minute length!) that sums up what Dream Theater is about without getting too crazy for the average listener. It includes all the facets of the Dream Theater sound: high-pitched vocals, heavy and rhythmic riffing and flashy solos and drum fills, but also atmospheric clean guitars and a catchy chorus.

"Another Day" is an 80s-style power ballad with a saxophone solo by guest performer Jay Beckenstein (who was in Spyro Gyra, right?). It may sound dated now, but the melodies and John Petrucci's solo are beautiful, and so are the lyrics about his father's battle with cancer. The inclusion of sax also proves that DT weren't afraid of fusing unusual elements into their sound, which is something they sadly don't do as much anymore. The funky bass and LaBrie's almost rap-like delivery in the first verse of "Take the Time" is another example of this bold genre-blending. The rest of the song is more typical prog metal full of time signature changes and intricate instrumentation, but the instrumental section is fun and compelling, not pointless noodling. The sing-along chorus and Kevin Moore's brilliant keyboard solo top off it all.

"Surrounded" is another ballad, but it's more upbeat and synth-driven than "Another Day". Moore's beautiful playing and spiritual lyrics combined with LaBrie's impressive vocals make this song one of my all-time favorites in the DT discography. "Metropolis Pt. 1: The Miracle and the Sleeper" is arguably the most pretentious song title of all time, but according to Petrucci it was a joke and there were no plans for a sequel, at least until the song became a fan-favorite and the fans started asking when they would release Part 2. "Metropolis" is famous for its crazy instrumental section, and while it's not one of my favorite songs, I understand its popularity, as the musicianship is incredible in it. By the way, "Metropolis" has just been confirmed for the upcoming Rock Band 4 video game, so you'd better start preparing your fingers if you're a fan of plastic instruments!

"Under a Glass Moon" is the heaviest song on the album with dissonant keyboards and punchy riffage, but also has plenty of those Alex Lifeson-influenced arpeggios and chords that I love. The centerpiece of the song is Petrucci's solo, which can be found on numerous "top x guitar solos" lists and involves numerous techniques that I know nothing about, as I'm a crappy guitarist. "Wait for Sleep" is a total change of pace, only including piano, synth strings and vocals. You'd think that a 2½-minute piano ballad is the most simple song out there, but even this Moore-penned beautiful little tune includes some time signature shifting that makes it challenging to play. Despite its complexity "Wait for Sleep" is a touching song about mourning the loss of a loved one and searching for answers.

"Learning to Live" is the longest song on the album at its 11½-minute length. It's less chaotic than "Metropolis", which makes it more enjoyable for me. James LaBrie's famous F#5 note in the middle of the song, followed by Petrucci's melodic solo is pure heaven - not even the hilarious goat edition can destroy its magic! John Myung's prominent basslines and thoughtful lyrics, as well as the brilliant "Wait for Sleep" reprise and one of the best fade-out outros I've heard are also moments worth mentioning - this is a top 5 Dream Theater song for sure!

Time may not have been kind to the production of Images and Words, but it's hard to imagine the album without those synth sounds and the triggered drum sound that Mike Portnoy hates. They're part of the album's charm, and it's amazing that an album as layered and polished as this became so big in the grunge era. However, the success was definitely deserved, as the band had worked really hard for years. All the little details are well thought-out and you can hear that the album was written carefully over a long period of time and not rushed in a couple of weeks. When I hear the words "progressive metal", the first album that pops into my mind is Images and Words - take that as you will!

Rating: 5/5

Dream Theater Discography: #1 When Dream and Day Unite (1989)

"Likely or not, it's a dream that we keep

and at odds with our senses we'll climb
But if faith is the answer, we're already reached it
And if spirit's a sign then it's only a matter of time"

Progressive metal icons Dream Theater are currently celebrating their 30th anniversary on a European summer festival tour. While waiting for the August 2 show in Helsinki, I'll review all their studio releases this summer. Since the Majesty Demos (1986) are just... well, demos and weren't even released under the DT name, I'll skip them - to be honest I find them unlistenable thanks to Chris Collins' vocals.

When Dream and Day Unite is a release a lot of fans may not have heard, as it was originally released on a small label called Mechanic Records, and there were no official singles or videos released from the album, although "Status Seeker" and "Afterlife" were remixed for radio airplay, which they never received. The album also features Charlie Dominici on vocals instead of James LaBrie, although the rest of the line-up is the same as on the classic Images and Words (1992): John Petrucci (guitars), John Myung (bass), Mike Portnoy (drums) and Kevin Moore (keyboards).

The strength of When Dream and Day Unite lies in the band's great musicianship and musical ideas. The founding members' Berklee background is clear and the playing is tight, for example in the power metalish "Afterlife" and the five-part epic "The Killing Hand". There's a certain dreamy, atmospheric quality in both songs, as well as "The Ones Who Help to Set the Sun" that I associate with the classic Dream Theater sound. The youthful enthusiasm and energy of the heavy "A Fortune in Lies" and the instrumental "Ytse Jam" also can't be found on some of DT's later, more mature yet mechanical albums, and "Status Seeker" is a catchy and memorable tune, despite the slightly cheesy and out-of-place synth intro. The album's 50-minute running time also makes it an easy listen, as it never really gets boring.

The album isn't without its flaws; the biggest of them is the production. WDADU was recorded in about three weeks with a budget of $30,000 and the band couldn't afford fancy equipment, so it's not a surprise that the album sounds rather dated and muddy. On the other hand, the bass is upfront in the mix compared to the later DT albums, which is nice, as John Myung plays a lot of great, sad (as the band members called them in a DVD commentary) basslines on the album. There are also some quirky transitions and clumsy vocal lines in a couple of songs, most clearly in the Kevin Moore-penned "Light Fuse and Get Away" and "Only a Matter of Time". Lastly, Charlie Dominici is a talented singer in his own right and his performance on the album is good, but he was clearly not the most suitable vocalist for a metal band. His voice lacks the power that colleagues like Geoff Tate had at the time, but also reminds me a little of Geddy Lee, which isn't a bad thing.

When Dream and Day Unite is a very promising debut by a talented young band, and even with all its shortcomings I consider it one of Dream Theater's greatest albums. Despite the prevalent influence of bands like Rush and Iron Maiden, it was a unique release back in the day, as the music of the very first progressive metal bands like Fates Warning and Queensrÿche wasn't as technical or complex as DT's. WDADU was a blueprint for the Dream Theater sound, but just the beginning and there were even better things to come in the following five years...

Rating: 4/5